German porcelain is highly prized among antique collectors for its exceptional material quality, originality, and the meticulous craftsmanship of its decorative design. The museum's collection preserves five figurines from one of the oldest porcelain manufactories in the Thuringia region of Germany - the statuary group known as *"The Musicians"*, crafted at the Volkstedt manufactory. These pieces entered the museum's holdings in 1991, acquired from a resident of Chișinău. With undeniable historical and artistic value, they bear the distinct imprint of the Rococo style. The Volkstedt manufactory has a long-standing tradition in producing figurines, including those depicting musicians. In 1760, Georg Heinrich Macheleid - inventor of hard-paste porcelain in Thuringia - founded a production workshop in Zitzendorf, which was relocated to Volkstedt in 1762. Macheleid led the manufactory until 1764. Over time, the factory changed ownership and management multiple times. Under the direction of Christian Nonne, it flourished between 1767 and 1797, a period marked by significant artistic development. Volkstedt began creating figurines that would later gain international recognition. It was during this flourishing period that the museum's porcelain statuettes, titled *"The Musicians"*, were produced. They depict five “putti”: four playing musical instruments (flute, mandolin, horn, and pipe), while the fifth conducts. Each figurine is entirely handcrafted - from modeling to painting - and delicately adorned with pastel tones and gilded details, capturing the playful movement and refined artistry of each musician. The base is made of mass-colored porcelain in a rare grey-green hue. The contrast between green, white, and gold accents lends the ensemble an unusually delicate appearance. These ornamental features are characteristic of the Rococo style, which emerged in France and is closely associated with the reign of King Louis XV. The mark applied to the figurines consists of two crossed forks, clearly rendered in underglaze blue, with slightly blurred paint - a detail that helps date their production. Because the crossed forks often resembled the crossed swords of the Meissen trademark, the Volkstedt manufactory was compelled to change its mark starting in 1787. Initially represented by a single fork, the mark briefly returned to two forks before being replaced in 1800 by the graphic symbol "R", referencing the town of Rudolstadt. Therefore, the brief period during which the two-fork mark was reinstated - and during which the museum's figurines were likely produced - is estimated to be between 1787 and 1800.
The statuettes range in height from 10 to 18 cm and are preserved in relatively good condition.
These late 18th-century German porcelain pieces, now on display, are exceptionally rare. They stand as true works of art by German craftsmen and serve as important historical testimonies to the evolution of porcelain manufacturing in Germany.
Some aspects regarding exchange of salt in 6th - 2nd millennia BC in the Carpatho-Danubian area
Tyragetia, serie nouă, vol. IV [XIX], nr. 1, Arheologie. Istorie Antică
The article deals with prehistoric salt production and exchange of salt in south-east and east-central Europe. The major points of the article are: 1. the modeling of the traditional forms of salt production and exchange in the area; 2. the identification of archaeological indications specific to every type of salt production and exchange; 3. the classification of available archaeological evidence of prehistoric salt production and exchange in Carpatho-Danubian zone.
Salt had two major senses during prehistoric period: on one hand it was as a good of daily consumption and thrifty use, on the other hand it was the exotic good. Every of these senses implied different types of production and exchange. The daily consumption and thrifty use salt could be made both within domestic and industrial productions. Of these, only industrial one was intended for long-distance exchange of salt. Salt as the exotic good was made only within special i.e. „sacred" type of production. This type of industry produced „miraculous" salt which was mainly, if not exclusively, intended for long-distance exchange.
The available archaeological evidence of salt production in the Carpatho-Danubian area is classified in the article on the above principles (tab. 1). Thus, the Neolithic salt production centers from Subcarpathian Moldavia (Lunca and Ţolici) as well as the Eneolithic one from the same area (Cucuieți) are attributed in the article to the domestic production of salt for daily consumption and thrifty use. The main goal of this type of production was to produce salt for domestic use or/and for short-distance traffic. Neolithic and especially Eneolithic salt production attested at Provadia-Solnitsata (northeast Bulgaria) is classified as industrial one. It produced common salt by evaporation of brine, and its main destination was the long-distance exchange, perhaps to east Balkans and North-Pontic area. The Eneolithic salt production centers from subcarpathian Moldavia (Lunca, Ţolici, Cacica, Solca etc.) produced exotic salt in the form of small cone-shaped cakes by evaporation in small briquetage. It was produced for long-distance exchange. The two Early Bronze Age salt production sites from northern Transylvania (Băile Figa and Săsarm) are classified as the domestic production centers which extracted rock salt for their own use and/or for short-distance traffic.
More attention is paid in the article to the end of Middle and Late Bronze Age (the end of 17th-9th centuries BC) salt mining centers from Transylvania and Maramureș: Băile Figa, Caila, Săsarm, Ocna Dej, Valea Florilor, Valea Regilor (Tisolovo) and Solotvino (Ocna Slatina) (Case Study). By all the available evidence, these centers seem to have been involved in the large-scale salt production and long-distance trade. Blocks of rock salt were traded from these centers to Hungarian Plane, by Someș and Tisa rivers. It is well-known fact that the period of functioning of the above salt mining production centers was the one of widest spread of tin bronze objects in the area. That is why, it seems likely that in exchange of salt its owners get, among other goods, tin.
List of illustrations: Fig. 1. The map of the Late Bronze Age salt mining sites: 1 - Caila; 2 - Săsarm; 3 - Băile Figa; 4 - Ocna Dej; 5 - Valea Florilor; 6 - Solotvino (Ocna Slatina); 7 - Valea Regilor (Tisolovo). Fig. 2. Northern Transylvania. Troughs in situ: 1 - Caila; 2, 3 - Băile Figa. Behind the trough at the position 2 the one can observe a ladder. Fig. 3. Băile Figa. One of the troughs (the same at fig. 2/3, the nearest plan). Wood. Fig. 4. Băile Figa. The pegs from the trougs (the troughs at fig. 2). Fig. 5. Băile Figa. One of the troughs (uncovered close to the trough at fig. 2/2). Fig. 6. Băile Figa. The pegs from one of the troughs (the trough at fig. 5). Fig. 7. Băile Figa, the year 2010. The experiment with the trough. Fig. 8. Băile Figa. Mining tools. Stone. Fig. 8. Băile Figa. Tools. Wood. Fig. 10. Băile Figa. The wooden construction for storage of salt (?). Fig. 11. Băile Figa. The parts of wooden constructions for storage of salt (?).
German porcelain is highly prized among antique collectors for its exceptional material quality, originality, and the meticulous craftsmanship of its decorative design...
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
The National Museum of History of Moldova takes place among the most significant museum institutions of the Republic of Moldova, in terms of both its collection and scientific reputation.
31 August 1989 St., 121 A, MD 2012, Chisinau, Republic of Moldova
